“House of Ga’a” is a sweeping historical epic from Nigeria, a tale of backstabbing and poisoning intrigues, lust, brutality and greed set just before the events depicted in the West Africa of “The Woman King.”

There’s a universality to this story of power, how to get it and how to murder and rape your way out of it, summoning up memories of “Macbeth,” “Romeo and Juliet” and other works from Western theater, literature and history.

Battle scenes, cities and palaces of the Oyo Empire and its rivals are recreated in this story of of the rise and fall of Bashuron (prime minister/warlord) Ga’a, played by Femi Branch (“Unknown Soja”) in the latest film by the director of “Man of God,” Bolanle Austen-Peters.

Unfortunately, it’s a movie whose ambition is somewhat undone by a general ham-fisted approach to the situations, characters, dialogue and plot. And this Nigerian “Nollywood” saga is badly battered by one of the worst dialogue dubbing jobs I’ve seen since the death of Bruce Lee.

We meet the patriarch of the House of Ga’a after a great victory on the battlefield against one of the Oyo Empire’s Muslim rivals. His generals, sons and lieutenants praise his leadership and marvel at how the ruling council of the Alaafin (king) will react to his inspired use of infantry and cavalry. But Ga’a cuts them off by asserting that he and he alone with “report” this.

The story is narrated in voice-over by youngest son Oyemekun (Mike Afolarin), who is more of a lover than a warrior. Princess Agbonyin (Bridget Nkem), “the most beautiful woman in the kingdom,” is his great love. But their fates fall to the whims of the Bashuron, who sends Oye to Dahomey where a warrior woman will train him in the martial arts.

When we see Ga’a take a defeated and beheaded king’s youngest bride (Tosin Adeyemi) as his slave/concubine, we fear the worst.

When she rebuffs him with the assertion that her body will serve his desires, but “If you want my heart, you will have to earn it,” we know we’re slipping into clumsy soap operatic situations, scenes and dialogue.

Through the ups and downs of his rise to authoritarian, “king-maker/king breaker” power, we hear clunky lines like “I am disgraced, I am DISGRACED” repeated half a dozen times, as if we don’t roll our eyes at the first utterance.

Bashuron’s wives rebel at his new slave-girl “concubine,” and conspire to burn her as a witch. His sons do whatever he commands, but assorted kings and officials (there are many, and they’re maddening to keep straight) tremble at his wrath and ponder ways out from under his blood-stained thumb.

The most interesting character in all this might be the shaman/witch doctor Sasa (Ibrahim Chatta), a counselor and co-conspirator who purports to have supernatural powers over Ga’a’s health and events the two of them set in motion.

“Death is superior to sickness,” Sasa asserts. “A thief is superior to a witch! All a witch has a thief be able to steal!”

“House of Ga’a” is at its best in action, as the fight choreography is good and the pacing is sharpest. When we settle on palace intrigues, the picture slows to the point of being static with interiors, infighting and betrayals of the sort one sees in soap operas the world over, even those set in pre-colonial West Africa.

Rating: TV-MA, graphic violence, sex, nudity

Cast: Femi Branch, Mike Afolarin, Funke Akindele, Tosin Adeyemi, Femi Adebayo Bridget Nkem and Ibrahim Chatta

Credits: Directed by Bolanle Austen-Peters, scripted by Tunde Babalola. A Netflix release.

Running time: 2:00